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Is a Genre of Dance Performance That Developed During the Mid-Twentieth
Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. . -
Abstracts and Biographies of Participants in Program at Danshögskolan, Sehlstedsgatan 4
KEYNOTE LECTURE 1 Dr. Susan Kozel……………………………………………………………………………………..p. 2 Session 1A MUSIC AND DANCE Inger Vinther Damsholt, Mats Nilsson / Karin Eriksson, Marika Karjalainen…………………… p. 2-4 Session 1B IDENTITY Katarina Lion, Karen Vedel, Lotta Harryson…………………………………………………….. p. 4-5 Session 1C WORKSHOP Serpil Murtezaoglu……......................................................................................................................p. 5-6 Session 2A EDUCATION Margarita Vikander, Gun Roman, Susanne Ravn………………………………………………… .p. 6-7 Session 2B THE NORDIC Egil Bakka, Turid Nokleberg Schjonsby, Petri Hoppu……………………………………………..p. 7-8 Session 2C WORKSHOP Irene Jelin……………………………………………………………………………………………p. 9 Session 3A COMMUNICATION Åsa Unander-Scharin, Anna Karin Ståhle, Tone Pernille Ostern ………………………………… p. 9-10 Session 3B THE GLOBAL Lena Hammergren, Hanne Blicher, Gediminas Karoblis…………………………………………. p. 10-12 Session 3C WORKSHOP Siri Maeland / Sigurd Johan Heide………………………………………………………………… .p. 12 KEYNOTE LECTURE 2 Dr. Theresa Buckland………………………………………………………………………………p. 13 Session 4A NATIONAL IDENTITY Tim Scholl, Cecilia Olsson, Johanna Laakkonen…………………………………………………. p. 13-14 Session 4B PHILOSOPHY Lena Rouhainen / Inka Välipakka, Lis Engel, Aino Kukkonen……………………………………p. 14-16 Session 4C WORKSHOP Gediminas Karoblis………………………………………………………………………………….p. 16-17 Session 4D LECTURE DEMONSTRATION Gun Lund…………………………………………………………………………………………… .p. 17-18 Session 5A GENDER Charlotte Rivero, Erna Grönlund / Barbro Renck / Hanna Vabö Gyllander / Nina Setterfalk……. p.18-19 -
Donald Mckayle's Life in Dance
ey rn u In Jo Donald f McKayle’s i nite Life in Dance An exhibit in the Muriel Ansley Reynolds Gallery UC Irvine Main Library May - September 1998 Checklist prepared by Laura Clark Brown The UCI Libraries Irvine, California 1998 ey rn u In Jo Donald f i nite McKayle’s Life in Dance Donald McKayle, performer, teacher and choreographer. His dances em- body the deeply-felt passions of a true master. Rooted in the American experience, he has choreographed a body of work imbued with radiant optimism and poignancy. His appreciation of human wit and heroism in the face of pain and loss, and his faith in redemptive powers of love endow his dances with their originality and dramatic power. Donald McKayle has created a repertory of American dance that instructs the heart. -Inscription on Samuel H. Scripps/American Dance Festival Award orld-renowned choreographer and UCI Professor of Dance Donald McKayle received the prestigious Samuel H. Scripps/American Dance Festival WAward, “established to honor the great choreographers who have dedicated their lives and talent to the creation of our modern dance heritage,” in 1992. The “Sammy” was awarded to McKayle for a lifetime of performing, teaching and creating American modern dance, an “infinite journey” of both creativity and teaching. Infinite Journey is the title of a concert dance piece McKayle created in 1991 to honor the life of a former student; the title also befits McKayle’s own life. McKayle began his career in New York City, initially studying dance with the New Dance Group and later dancing professionally for noted choreographers such as Merce Cunningham, Martha Graham, Sophie Maslow, and Anna Sokolow. -
Funkids Amb La Black Music Big Band & Brodas Junior
Dossier pedagògic — FunKids amb la Black Music Big Band Dossier pedagògic FunKids amb la Black Music Big Band & Brodas Junior Auditori de Girona Dossier pedagògic — FunKids amb la Black Music Big Band —3 Presentació —4 Fitxa artística —5 Black Music Big Band- BMBB —6 Què és una Big Band: una gran orquestra de jazz —7 Ball urbà — 2 Dossier pedagògic — FunKids amb la Black Music Big Band Presentació Qui no es mou amb la música funky? La proposta fresca Un espectacle i rítmica de l’Auditori Obert, en què els alumnes desco- briran l’essència de la música negra amb el funky i el soul amb més de 45 com a protagonistes. Un concert formatiu sobre la Big participants dalt Band, els seus instruments i estil amb explicacions en català i pinzellades en anglès (fàcilment comprensibles de l’escenari per als nens i nenes). Tot plegat de la mà dels joves de la entre músics i BMBB i al costat dels ballarins de Brodas Junior, que fa- ballarins ran del FunKids un concert ple d’espectacularitat i ritme! Qui no es mou amb la música funky? Arriba una proposta fresca i rítmica de l’Auditori Obert, en la qual els més joves descobriran l’essència de la música negra amb el funky i el soul com a protagonistes. Un concert formatiu i pedagògic que ens parlarà de la Big Band, els seus instru- ments i estil, el mon del ball urbà, etc.... Què podrem conèixer a FunKids? - Els seus instruments: secció de saxos, trompetes, trombons i la base rítmica - Escoltarem les diferents veus de la Black Music - Viurem els diferents estils de balls urbans com el locking, el popping, el bboying o el hiphop I tot això amb explicacions en català i pinzellades en anglès. -
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
Effective Community Engagement Programs in Contemporary Concert Dance Companies
Western Kentucky University TopSCHOLAR® Mahurin Honors College Capstone Experience/ Thesis Projects Mahurin Honors College 2021 Effective Community Engagement Programs in Contemporary Concert Dance Companies Emily Caldwell Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Arts and Humanities Commons, and the Education Commons This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Mahurin Honors College Capstone Experience/Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. EFFECTIVE COMMUNITY ENGAGEMENT PROGRAMS IN CONTEMPORARY CONCERT DANCE COMPANIES A Capstone Experience/Thesis Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Mahurin Honors College Graduate Distinction at Western Kentucky University By Emily Caldwell May 2021 ***** CE/T Committee: Prof. Amanda Clark, Chair Prof. Meghen McKinley Dr. Keri Esslinger Copyright by Emily Caldwell 2021 ABSTRACT Arts education is extremely important yet underrated and underfunded in our country today. Some professional dance companies provide educational opportunities in dance and other areas of the arts for youth and others within the community as a means to combat this problem. This project is a compilation and synthesis of my research on how to most effectively create and implement children’s outreach programs in contemporary modern concert dance companies. The purpose of this research is to study how professional dance companies give back to their communities through engagement with children via classes, performances, workshops, etc. and to determine the most effective methods to create, advertise and execute these various programs. -
York University's Department of Dance
York University’s Department of Dance Welcome to this World Dance Alliance Global Assembly performance. The choreography The first and largest dance program in Canada, York’s Department of Dance offers you will see this week reflects the Assembly’s theme Dance/ Diversity/ Dialogue: Bridging courses in modern and ballet, jazz dance, world dance, dance writing, history, Communities and Cultures. kinesiology, dance science, music, ethnology, pedagogy, somatic education, choreography, movement observation, plus substantial performance opportunities. The World Dance Alliance was initiated in Hong Kong in 1990 with the founding of the Asia Pacific region to serve as a primary voice for dance and dancers throughout the Full time Faculty: world, to encourage the exchange of ideas, and to promote the awareness of dance in all Modesto Amegago Penelope Reed Doob Danielle Robinson its many forms. The Americas joined the Alliance in 1993, Europe in 1997, and an Alliance Carol Anderson Norma Sue Fisher-Stitt Holly Small is under development in Africa. Anna Blewchamp Donna Krasnow Mary Jane Warner Karen Bowes-Sewell Mary-Elizabeth Manley (Chair) Global Assemblies are normally held in alternate years, hosted by one of the three Darcey Callison Selma Odom Claire Wootten regions. Previous Global Assemblies have taken place in Seoul, Essen, Philadelphia, (Director, Graduate Program) Tokyo and Dusseldorf. This is the first time a Global Assembly has been held in Canada. For this occasion, each region was invited to nominate four companies to perform during Degrees Offered: the Assembly. Canadian dance artists were solicited through an application process. Bachelor of Fine Arts (Specialized Honours) Master of Arts During the week, you will have the opportunity to see a broad spectrum of dance forms Bachelor of Arts (Specialized Honours) Master of Fine Arts performed by dancers representing a wide range of ages and physical abilities. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
Dance Fields Conference Boa NEW
Dance Fields Conference April 19th – 22nd 2017 Book of Abstracts (Chronologically listed) SESSIONSPANELSPRACTICALSWORKSHOPSROUND TABLES Thursday, April 20th 10:00 – 11:30 Session I Chair: Ann R. David Michael Huxley Dance Studies in the UK 1974-1984: A historical consideration of the boundaries of research and the dancer’s voice The first Study of Dance Conference was held at the University of Leeds in 1981. The following year saw the First Conference of British Dance Scholars in London, leading to the inauguration of the Society for Dance Research and then the publication of its journal, Dance Research. Since 1984, the field of dance studies in the UK has both developed and been debated. My paper draws on archival and other sources to reconsider this period historically. With the benefit of current ideas of what constitutes dance, practice, research, and history, it is possible to consider the early years of UK Dance Studies afresh. In the twenty-first-century there are some accepted notions of dance studies. I would argue that they have established boundaries, but that these are often unstated. The period is re-examined with a view to uncovering a broader, and indeed more inclusive, idea of dance studies. In this, attention is given to the researches of practitioners in the period; both published, including in New Dance, and unpublished. Whilst recognising the significant scholarship of the period, the paper also considers the ideas that dancers gave voice to. The analysis is taken further by considering the unexamined discourses that helped enable research in dance in the UK to develop in the way it did. -
What Are the Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Applied Behavior Analysis Commons, Arts and Humanities Commons, and the Cognitive Psychology Commons Recommended Citation Wright, Carley, "What Are The Overall Benefits of aD nce Improvisation, and How Do They Affect Cognition and Creativity?" (2018). Honors College Theses. 193. https://digitalcommons.pace.edu/honorscollege_theses/193 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. What Are The Overall Benefits of Dance Improvisation, and How Do They Affect Cognition and Creativity? Carley Wright BFA Commercial Dance Major Advisor: Jessica Hendricks th nd Presenting: May 7 , Graduating: May 22 Advisor Approval Page Abstract The purpose of this thesis is to define the terms improvisation, cognition, and creativity, and therefore find the direct correlation between all three, and how they can all be involved within dance. The main intention is to determine whether or not improvisational dance can positively influence one’s creative mindset, thus improving the cognitive learning process. Furthermore, it is to discover if the development of a creative mindset can be established through dance improvisation at an early age. In this exploration, the majority of my research will come from the examination of previously conducted experiments, as well as guiding and observing an improvisation class of young adults, gaining insight simply from a dance teacher’s perspective in order to explore the idea of cognition leading to creativity through movement. -
The Arts, Grades 11 and 12
2010 REVISED The Ontario Curriculum Grades 11 and 12 The Arts CONTENTS INTRODUCTION 3 Secondary Schools for the Twenty-First Century . 3 The Importance of the Arts Curriculum . 3 Ideas Underlying the Arts Curriculum . 5 Roles and Responsibilities in the Arts Program . 5 Attitudes in the Arts . 7 THE PROGRAM IN THE ARTS 9 Overview of the Program . 9 Curriculum Expectations . 13 Strands in the Arts Curriculum . 15 The Creative Process . 15 The Critical Analysis Process . 17 ASSESSMENT AND EVALUATION OF STUDENT ACHIEVEMENT 23 Basic Considerations . 23 The Achievement Chart for the Arts: Grades 9–12 . 26 Information on the Achievement Chart . 28 SOME CONSIDERATIONS FOR PROGRAM PLANNING IN THE ARTS 31 Instructional Approaches . 31 Planning Arts Programs for Students With Special Education Needs . 32 Program Considerations for English Language Learners . 34 Environmental Education and the Arts . 37 Healthy Relationships and the Arts . 38 Equity and Inclusive Education in the Arts Program . 38 Multiple Literacies in the Arts . 40 Literacy, Mathematical Literacy, and Inquiry/Research Skills . 41 Critical Thinking and Critical Literacy in the Arts . 42 The Role of the School Library in the Arts Program . 43 The Role of Information and Communications Technology in the Arts Program . 44 The Ontario Skills Passport and Essential Skills . 45 Career Education . 45 Une publication équivalente est disponible en français sous le titre suivant : Le curriculum de l’Ontario, 11e et 12e année – Éducation artistique, 2010 This publication is available on the Ministry of Education’s website, at http://www.edu.gov.on.ca. Cooperative Education and Other Forms of Experiential Learning . 45 Planning Program Pathways and Programs Leading to a Specialist High Skills Major . -
State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios
Utah Dance Education Organization State High School Dance Festival 2014 – BYU Adjudicator and Master Class Teacher Bios Kay Andersen received his Master of Arts degree at New York University. He resided in NYC for 15 years. From 1985-1997 he was a soloist with the Nikolais Dance Theatre and the Murray Louis Dance Company. He performed worldwide, participated in the creation of important roles, taught at the Nikolais/Louis Dance Lab in NYC and presented workshops throughout the world. At Southern Utah University he choreographs, teaches improvisation, composition, modern dance technique, tap dance technique, is the advisor of the Orchesis Modern Dance Club, and serves as Chair of the Department of Theatre Arts and Dance. He has choreographed for the Utah Shakespearean Festival and recently taught and choreographed in China, the Netherlands, Mexico, North Carolina School of the Arts, and others. Kay Andersen (SUU) Ashley Anderson is a choreographer based in Salt Lake City. Her recent work has been presented locally at the Rose Wagner Performing Arts Center, the Rio Gallery, the BYU Museum of Art, Finch Lane Gallery, the City Library, the Utah Heritage Foundation’s Ladies’ Literary Club, the Masonic Temple and Urban Lounge as well as national venues including DraftWork at Danspace Project, BodyBlend at Dixon Place, Performance Mix at Joyce SOHO (NY); Mascher Space Cooperative, Crane Arts Gallery, the Arts Bank (PA); and the Taubman Museum of Art (VA), among others. Her work was also presented by the HU/ADF MFA program at the American Dance Festival (NC) and the Kitchen (NY). She has recently performed in dances by Ishmael Houston-Jones, Regina Rocke & Dawn Springer.